Product Feature | RX100 VII | Sony | Cyber-shot

Product Feature | RX100 VII | Sony | Cyber-shot


RX100 VII 24-200mm* high-zoom lens in a pocket-size body
*Angle of view (35mm format equivalent). 24-200mm* high-zoom lens in a pocket-size body
24mm / 70mm / 200mm
*Angle of view (35mm format equivalent). ZEISS® Vario-Sonnar T* 24-200mm* F2.8-4.5 zoom lens
*Angle of view (35mm format equivalent). ZEISS® Vario-Sonnar T* 24-200mm* F2.8-4.5 zoom lens
AA (advanced aspherical) lens
ED aspherical lens
Aspherical lens                      
*Angle of view (35mm format equivalent). Condensing the outstanding technology of α9 New 1.0-type stacked CMOS sensor The latest image processing engine Blackout-free Shooting*
Conventional camera / RX100 VII
*When using electronic shutter. Slower shutter speeds will reduce the refresh rate of the screen. 20fps* continuous shooting, using 60 times/sec.** AF/AE calculations
*When using the electronic shutter with “Continuous shooting mode: Hi”. Effective when the electronic shutter speed is 1/60 or above.
**When using the electronic shutter. Effective when the electronic shutter speed is 1/60 or above. Single Burst Shooting* at up to 90fps**
*Seven still images are shot per burst. Focus and exposure are fixed at the first shot.
**When Drive Mode set to “Single Burst Shooting: Hi”. Single Burst Shooting* at up to 90fps**
90fps (0.011sec.)
7photos
*Seven still images are shot per burst. Focus and exposure are fixed at the first shot.
**When Drive Mode set to “Single Burst Shooting: Hi”. 0.02 sec.* fast AF
*CIPA standard, internal measurement, at f=9.0mm (wide-end), EV6.6, Program Auto, Focus mode: AF-A, Focus area: Center. 357 phase-detection AF points 425 contrast-detection AF points Real-time Tracking for stills Real-time Tracking for movies Touch Tracking for stills and movies Real-time Eye AF for stills Real-time Eye AF for movies Real-time Eye AF for animals (stills only) 20.1MP* resolution and ISO100-12800 sensitivity
*Approximate effective megapixels. Excellent colour and texture reproduction 4.0-step* effective Optical SteadyShot™
OFF (Simulated) / ON
*CIPA standard, pitch/yaw directions, at 200mm (Angle of view, 35mm format equivalent). Interval Shooting* for time-lapse movies
*Wi-Fi is not operational during Interval Shooting. Post-editing is required. 4K HDR (HLG) video recording*
*3840 x 2160 pixels. When “Auto Power Off Temperature” is set to “Standard”, continuous shooting is possible for about 5 minutes. Connect this product to an HDR (HLG) compatible Sony TV via a USB cable to display HDR (HLG) movies. Picture Profile for creative expression
S-Log3/S-Gamut3 / After colour grading Optical SteadyShot™ Active mode for 4K movies*
Standard mode / Active mode
*3840 x 2160 pixels. When “Auto Power Off Temperature” is set to “Standard”, continuous shooting is possible for about 5 minutes. Microphone jack for high-quality sound Vertical-position data recording Tiltable LCD screen
Up to approx. 180 degrees
Down to approx. 90 degrees One-push Access EVF RX100 VII
Pro features in a to-go package Sony, Exmor RS, BIONZ X, SteadyShot and other marks are trademarks or registered trademarks of Sony Corporation.
All other company and product names mentioned herein are used for identification purposes only and may be the trademarks or registered tarademarks of their respective owners.
Product design, features, specifications are subject to change without notice.
Product availability varies depending on market.
Accessories are optional.
Screen displays and effects used to illustrate some functions are simulated.

What’s in my Camera Bag: Sony Cameras for Vlogging Setup

What’s in my Camera Bag: Sony Cameras for Vlogging Setup


Thessaloniki is my home city. Its waterfront is popular among cyclists,
runners and people who enjoy a walk by the sea. Most of them come to the promenade in the
evenings to witness majestic sunsets. I try visiting it when it’s not too crowded,
usually in the mornings. My favourite day of the week to do so is Sunday,
when it’s quieter as streets are empty and traffic noise is replaced by bird sounds. I used to come here when I had to clear my
mind, to think and to get some fresh air. Since I got a camera though, I can’t resist
taking pictures and shooting video here and there. I’m Jim makos, a web entrepreneur who has
recently discovered his creative side through a camera’s viewfinder. I have no background in arts and honestly,
I used to mock friends who would carry heavy gear to snap photos. Now, I have at least one dedicated camera
on me at all times, which I use to document my business and personal life, not to mention
tripods, 360 cameras, drones and other filmmaking gear! One of those Sundays I went for a morning
walk and I took two cameras with me. I also picked my smallest lenses for the most
compact setup, as I hate carrying a heavy backpack, especially when I’m expecting to
walk for at least an hour and creating content isn’t my purpose. I had a 55mm lens attached to the camera I
would primarily use for video and a 35mm lens attached to the camera that excels in taking
landscape pictures. Yet, I would use it to film myself from time
to time. These cameras are full frame cameras. They offer superb image quality but it usually
comes at a cost: the size. Full frame lenses are usually a lot bigger
than other systems. I myself considered moving to other camera
systems that offer smaller setups at one point, such as Fujifilm cameras. Yet, this lens combination lets me carry both
cameras in a small messenger bag and take advantage of other full frame benefits, such
as the shallow depth of field. Also, Sony cameras allow you to shoot in crop
mode, effectively doubling the lenses’ use. As a result, I can shoot in 35mm, 50mm, 55mm
and 80mm field of view in 4k with just two prime lenses that fit in an inconspicuous
bag. I often shoot video like taking pictures:
through the viewfinder. It results in less shaky footage due to the
third point of contact (your head) and people think of you as a photographer. Sometimes I check the recorded footage on
the viewfinder as well, but mostly I use the back monitor. I suppose this setup is ideal for street photographers
as well. Although I do enjoy photography, making videos
is what makes me happy, so I’ve found this camera and lens setup ideal for a walk-around,
everyday, light video-making system after years of trial and error. I’m sure there are more compact setups out
there, but this one works perfectly for me, when I need to quickly save a memory, document
everyday life in near perfect image quality without hurting my back at the same time! Hopefully, it will help you in your quest
of finding the perfect camera system – shhhhh, it doesn’t exist!

Street Photography Part 1c

Street Photography Part 1c


I’ve got the wide angle lens on this body as i’m walking down the street. because i’m far more likely to see
something interesting and be able to grab it with the wide lens, than to faff around and zoom in with a a long lens. but here’s something which is usually
pretty interesting isn’t it we all kind of go for shots of colorful fruit and veg and stuff on the market. i quite like this stuff, i just need to ask the man if it’s okay. hi mate, do you mind if i take a few shots of your fruits and veg, is that alright? yeah. who’s the boss? are you the boss? yes, hello my dear, do you mind if we take a few shots of your fruits and veg and stuff, what is that for then? we run, and shoot little films teaching people to use there cameras and that sort of thing. everybody want’s to take nice pictures down the market. okay, well as long as when i get a few customers, don’t block them out, nah, nah i won’t get in your way of customers at all. that’s very kind of you. she’s a nice lady. well the first thing i like is, well isn’t it weird the first thing about market shops fruit and veg traders all have signs like that, i don’t know why, it doesn’t matter who you are or in which country anywhere in the world in any city or any town they always look like that, i don’t know why. i don’t know, it must be some kind of deep psychological thing. Look at that. we have the pink grapefruit cut in half. now i expect when it was first cut i half it looked lovely, i expect it was all, bright and vibrant and gorgeous, it’s not quite so good now but none the less i still think there’s a shot to be had here, with the grapefruit sign above it. wide lens again, i’m going for the, wide lens, i don’t know why, i don’t know i just am. because i wan’t to try and get close to the grapefruit, yeah that’s going to work i want to get very close to the fruit, i want the feeling that you’re almost in the box with the fruit. i like this halved grapefruit, because it i dunno kind of breaks up the grapefruit. i like the market trader sign. and i like the building in the background, and of the canopy, because this bit of canopy really really says market. also right now, we’ve got clouds in the sky if the sun was out and it was a bright sky, that would just burn into white, but at the moment i think they’ll be some detail in the sky too. so bright sunshine isn’t always the best let’s just get in close here, ow there’s even a strip of street light going on over there. so let’s get in close, and focus on the cut fruit, here we go. adjust and just squeeze that. i want to get a different angle on it. i’m going to zoom my lens only a bit. it’s not working, that’s better. so i’m focusing on the cut fruit. I’ve zoomed it in only very slightly, from ten to about thirteen millimeters. focus on the cut fruit, and and i’m tilting the camera slightly, and I’ve got the pink grapefruit three for one pound going on in the background. i quite like that. i think that’s okay, that’s cool. now then sorry i’m very tempted to say melons, aha can’t help myself i’m such a kid. but let’s have a look at your melons dear. now then. what does this look like at the moment I’ve got, ordinary people in my shot, have a look. there’s janey with the camera, now let’s see, janey can you go that way a bit. i’m going to have a look along the stall. That’s quite cool, melons one pound. people walking up the street. here we go, there’s a little bit of street photography going on. now look at that, now as i took that last shot, and i had to do it very quickly i focused on the melons I’ve just got a bit of the sign there, but not as much as i wanted the reason i did it quickly was i liked the two guys walking up the street. i wanted to put them i the opposite corner of the picture to the fruit. this is were you’ve gotta kind of have eyes everywhere, and you’ve gotta move quickly. this is why aperture priority semi-auto mode works so so well and you don’t want to have to be thinking about is my shutter speed going to be fast enough so use a faster ISO in the first place. so kind of worked. i really really like these kind of clementine oranges. and we’ve got a guy being served, that’s really cool. so i’m talking quietly because i don’t want the to over hear me. uh… look at that, look at that. large clementines. cool. really really nice isn’t it aw nice. ca i take a picture of your carrots my dear? you may take a picture of the carrots. thank you right, i like that, i do like that. sorry i’m going to use the wide angled lens. look at that. i love that. oh look. how much more market-y could this get? than that. i’m going to have another go, ow i knocked her stall there. look at that, let’s get real close. i want them i’m gonna get real close to
the carrots. ah, if i can just focus. it’s difficult to focus there we go we’ve got a focus. choice carrots. look at that. how market-y is that for a still life? it’s cool isn’t it? and it’s so easy, and how nice people are. it’s not like these are people who have met me loads of times. but if you come back each week to the market and talk to the traders, and get people used to seeing you, their going to be really really cool about letting you take some pictures. do you mind if i just go round the other side? no that’s fine you’re very kind, thank you. the labels will be the wrong way. but i’m being sneaky actually because i just like looking across them from this angle like that. because it’s a real market-y sort of a shot i like the colours too. let’s just tilt this that way, look at that. they’re nice. yeah, i quite like that you see, that’s quite a nice wide angle very much on the market shot. the preserves a really really strong in
the foreground leading it up to the guy in the corner. So let’s just analysis this composition, because i need to make sure i tell you things not just let you watch me do things. I set the shot up ten mill lens, very very wide i’m still working at, no i’m not i’m working at a four point five, i must have knocked it by accident, i was hoping i’d get a great depth of field. but with that lens it shouldn’t be an issue. very in close so the so that the left hand corner of the picture has got jams and preserves very very strong but i compose it by moving the camera very slowly so that the guy who runs the stall is in the right hand corner. so we’ve got a bit of a dynamic going on these jams and preserves going to the man in the corner. there’s quite a diagonal dynamic going on there. i’m still shooting aperture priority i’m letting the camera deal with the
exposure i’m keeping my iso high. Then hopefully, seeing what’s been going on here is giving you an insight into how easy it can be to do a bit of street photography. the big thing is you have to own, there’s a kind of thing in your head it’s a mental space you have to be happy to just talk to people, ask them things be up front be straight about it, if you start being sneaky and kind of going, like that and think oh my god there watching, then they’re going to think what’s that bloke up to. so there we go, we’re gonna come back again and we’re going to look at photographing with the traders rather more than photographing their products. Get out there with your camera, have a play with this, go and take some still life’s on some markets and post them to our Facebook page, we’d love to see them.

Analog vs. Digital Cameras

Analog vs. Digital Cameras


( music playing )Marques:Today I’m going to
talk with Rik Cordero,
a filmmaker who’s directed
music videos
with retro aesthetics
for artists like Nas,
Q-Tip, and The Roots.Rik is here
to help me compare
the analog look
of digital cameras
versus the look of
the original JVC camcorder.
So, this is it.
What I was usingwhen I was making
these music videos
was the Panasonic HVX– something that bridged
the gap between consumer and professional equipment, and it had this lived-in look. Great, let’s see
if we can put it together.( music playing )– This is now adapted.
– It is. – What I have here today
is that first JVC camera.
– Oh, my God. I’m really excited to see what it looks like
next to this thing. Who’s gonna carry
the lighter camera?
That’s the question. – I got this one.
– Thanks. ( muttering ) The only bummer
was not having a screen – to see anything.
– Yeah. Now that we’ve shot with this,
we should switch over – and see what
the Panasonic system’s like.
– Yeah. Yeah. – How was that?
– Pretty good. It was framed pretty well,
and I could see it. When you have the viewfinder, you feel more confident
in your shots. Marques:Yeah.All right, well, let’s look
at them side by side. All right,
so let’s check out the JVC. – ( whirring )
– I love that motorized
sound that it makes. – That’s a long sound.
– It is. – I’m not even gonna lie.
– You ever see– – You ever see “RoboCop”?
– No. Cordero:
They recorded the sounds of,
like, VCRs and VHS camcordersas the sounds
of when RoboCop walked. ( whirring ) Thank you for your cooperation.
Good night. ( whirring ) That actually makes
a lot of sense. – Almost everything that’s
in highlight is blown out.
Yeah.– Uh, not as wide as I thought.
– There you go. There you go. We’re seeing the disadvantage
of not having a viewfinder. – Yeah. It looks like
found footage.
– Yeah. We were going for that look. So, this is really
taking me back.I was filming VHS movies
when I was 13 years old.
Nothing was perfect, and that’s
what made it feel real. You can add
all the after effects,
plug-ins you want,and you’re not gonna achieve
what’s happening here.
Marques:Not something that
could easily be replicated.
– Rik:No.
– Next step is to check out what the Panasonic system
kicked up. Pause this. Rik: So we’ll play
the first clip. All right. The framing’s
instantly way better, much more dynamic range, and, yeah,
colors look way better. The thing I like is
that you still have this
filmic look to it. It’s a look
that I think really advanced
the look of VHS. If I were to pick
between these two rigs,
I would still pick this one, even though it’s
a little more taxing
to set up and carry. But at the end of the day,
this is the grandaddy
of it all. Rik:Yeah, that’s the one
that kicked off everything.

How to Take Pictures in Small Room (3 Techniques for Boudoir)

How to Take Pictures in Small Room (3 Techniques for Boudoir)


– Okay, what’s up guys? Welcome back to the channel. I’m Mike Sasser, Boudoir photographer in
Los Angeles, California. But today we are in New York because I am teaching a little workshop on how to shoot video during
your boudoir sessions. And if you guys know
anything about New York, you know that the rooms are
really really really tiny and that is exactly the
hotel room that we have here. I mean this place can barely fit this bed. Now I worked really hard in Los Angeles to find like the perfect space, a spot with big windows, a spot with good light
that’s got nice floors and like a deep space so that I could shoot
exactly what I want to shoot. But I know that’s not
the case for everybody. A lot of people are shooting
in these smaller spaces. So I wanted to make this video
of three little techniques that I use when I do have
to shoot in small spaces. And hopefully these are
really gonna help you guys out for when you have to as well. (upbeat music) Now with an ultra wide angle lens, this hotel looks like it’s a decent size, but it’s really only ten feet by ten feet or three meters by three meters, for those on the Imperial system. But let me show a few
things for comparison so you can actually see how
little space there is in here. So here we’ve got, I think
it’s a Queen size bed. It may be a full size bed and then we’ve got, this is my carry-on piece of luggage that you can see, if I try and put it in between this space, like it doesn’t even
actually hit the ground there ’cause there’s not enough space
for it to sit on the floor. Here we have just a
regular computer desk chair that, I mean, barely has
enough space in between the bed and the desk. And here’s my camera bag, which, like, kinda opens but not really, in between this little space over here. And we do have one little
extra walkway over here that’s gonna allow us to
get a little bit more depth but pretty much, this is
what we’re working with. So for things to work with
in here, we have this bed, we’ve got big nice, light windows and we have this really awkward throne, like super unnecessary… I don’t know why they thought, like, you know what would really
tie this room together? A snake skin… Looks like a tarantula arm or something but we’re gonna use it. Hey Genesis! She’s gonna be helping us out today. – Hi! – And we’re gonna start
talking about our three tips, I think with a little
bonus tip at the end. I might cut that out ’cause I can’t remember if
I added a bonus tip or not. So the very first tip that we’re gonna do is going to be to shoot
from different heights. (smooth music) I like to shoot at eye-level a lot. And so, what that does, I think it makes things like
more personal with a client. I think it gives an evenness
of power and a connection. But, when you are limited
in a space like this, you kinda have to start to get creative. So let’s see a couple examples of how we can use some different heights to make some cool pictures. Okay, first thing we’re
gonna do is get rid of this ridiculous yellow. Where do you even put
this in a room this small? We’re gonna put it in here. (banging) Okay, so even though this
is a pretty small space, we have this massive, amazing window and I’ve always thought that window light, like good light, is more important than anything else, above location, above the outfits that they brought, above the furniture. So we’re really lucky that we’ve got really, really good light, so we’re gonna use that to our advantage. (music playing over Mike
instructing Genesis) (smooth music) (music playing over Mike
instructing Genesis) (smooth music) For this next shot, another, like, little bonus tip, I almost always shoot
with a 50 millimeter, like almost always in my space. But when you are in tighter spaces, I recommend that it’s a good idea to check out something a little bit wider. We’re gonna use the 35
millimeter for this shot. I’m gonna get nice and low and shoot up on her and the 50’s only gonna be
able to capture her face. We wanna be able to see more than that. So let’s make it happen. (music playing over Mike
instructing Genesis) (smooth music) (music playing over Mike
instructing Genesis) (smooth music) Alright, so that’s tip number one. Tip two is gonna be to add
a little depth to the space. We’re gonna use a foreground object. (smooth music) This can pretty much be anything. I made an entire video on this, which I’m gonna link above
and in the description. Basically what we’re trying to do is give the illusion of depth by using just something out
of focus in the foreground. Now I didn’t prepare and
I didn’t bring anything, so we’re gonna search
around the hotel room and see if we can find something that’s gonna work really well.
Let’s see what we have here. We’ve got like some half and half. That’s probably too small for it. Does this come off? Oh no, that’s just a turn. I’m definitely not gonna hold
up just the whole coffee mug. Actually it’s a good thing
that I got these yesterday because, I think maybe the… You want one? – [Genesis] I’ll take one.
– Yeah. It’s important to have
chocolate at your shoots for a number of reasons but
also ’cause I’m pretty sure these wrappers are gonna work, the way they kinda reflect the light off. So let’s go ahead and… White chocolate, so good. So when you put the
aluminum foil out of focus with the light reflecting off of it a bit, it’s gonna look really cool out of focus. We’re gonna take this phone
out of the background. (laughing) Clean up your backgrounds guys! Also this light is super
bizarre here for some reason. We’re just gonna make this a normal light. The more clutter you
have in your backgrounds, the more distracting it is, so I really recommend that, as simple as you can make them and as normal as you can make them. The whole kinda concept is there’s a little bit of
voyeur sorta character to it, so you won’t be looking
at the camera for these. Alright, go ahead. (music playing over Mike
instructing Genesis) (smooth music) (music playing over Mike
instructing Genesis) (smooth music) (music playing over Mike
instructing Genesis) Alright, so that’s tip number two. Tip number three is to shoot details. So what I love about boudoir
is not every single picture has to have a full body. It doesn’t have to have
their whole face in it. So when I’m selling albums, the goal is to get variety. So, in order to do that, we
shoot a lot of detail shots of, like, their collar bone, of their fingertips, of
their lips, things like that. So, especially when
you’re in a small space, you can sorta lean on
that a little bit more. So we’re gonna put her in a pose and then just get as many
detail shots of that one pose as we possibly can. (music playing over Mike
instructing Genesis) (smooth music) Tip number one, shoot
from different heights. This is gonna give you
more variety in your space. Tip number two, shoot through something. This can be anything you find, flowers, candy wrappers, doorways. And tip number three, shoot details. Uses the opportunity to
get a variety of images that you can sell in addition
to your standard photos. I’ve got even better videos
for you guys coming up in the next couple of weeks, so if you’re not subscribed, you’re definitely gonna
wanna hit that button. Go check out Genesis on Instagram and if you guys need a little
help with your editing, all of the photos in
this video were edited with my Ever Summer presets. There will be a link in the description and I will see you next week! (smooth music)

Redmi K30 – WITH NEW SONY CAMERA SENSOR!!!

Redmi K30 – WITH NEW SONY CAMERA SENSOR!!!


Hey guys, Hash here from Hash tech and today
I am going to talk about Redmi K30. which will be going to announce this month. Moreover, yesterday leaked promo images of
the device were making round on the internet. As you can see, the image reveals a few key
aspects in terms of design. From the images, we can confirm K30 will have
a punch-hole design with the cutout located on the right side. But this image is not authentic and also we
can’t predict the final look. In my opinion, there is a small white dot
near the cutout. So it may be edited I think. Earlier rumor suggests that Redmi k30 could
be launched with the world’s high-resolution camera sensor, which could be the new Sony
IMX686 sensor with 60MP resolution. So sony also going to launch this sensor and
K30 will the first phone implement this camera sensor. Definitely, it is a powerful sensor from Sony. Apart from the camera sensor, Redmi K30 will
arrive with a dual-mode 5G support, including both NSA and SA modes. If this happens, the phone will become the
first phone to support 5G from the brand. Redmi K30 will launch with a 6.66-inch FHD+
display, which maybe includes a 90Hz refresh rate for standard and 120hz for upper variant
K30 PRO. As always this phone will pack with Android
10 and MIUI 11 on the top. Earlier Sudhanshu Ambhore, a tipster on twitter
mentioned that K30 will be equipped with a snapdragon 735 processor. Earlier there is a rumor about the MediaTek
5G chip also, which will be equipped in the K30 series. So there is no confirmation about the chip
or processor of redmi K30 SERIES. According to some latest reports, this smartphone
is available in China with 5G connectivity and the rest of the world with 4G variant
Let me know your thoughts about Redmi K30 in the comment box. I will see all tomorrow make sure subscribe
to this channel for more updates about the xiaomi device, and also Don’t forget to hit
that notifying bell icon. Thank you for watching it. I am Ashkar from hash tech

Eye AF | Sony | α

Eye AF | Sony | α


#SonyEyeAF “EYE” “AUTO” “FOCUS” Eye AF #SonyEyeAF
Screen images are simulated. Attached lens varies by photos.

Fast Hybrid AF | Alpha 7R II | Sony | α

Fast Hybrid AF | Alpha 7R II | Sony | α


High-performance
Fast Hybrid AF The highest number of focal plane phase-detection AF points and the widest coverage Phase-detection AF coverage (399 points)
Contrast-detection AF coverage (25 points) Extensive coverage keeps AF right on track Brilliant AF and AE tracking even at 5fps